![]() ![]() ![]() You might know damn well that you've got the evidence to convict that wife-murdering brute, but if you present it in the wrong order or accuse a suspect of lying when they're entirely obviously lying or you don't pick the precise object necessary to prove it, then your character (stoic WW2 veteran and fast-promoted hero cop Cole Phelps) acts upon your errant dialogue choice by transforming into a shouting nutter and his suspect immediately becoming a taciturn know-it-all in response. Crimes are solved and suspects arrested based on a curious and maddeningly inflexible internal, invisible logic, most overtly displayed in the simple believe/doubt/accuse interrogation minigame. Alas, their true purpose is to make the unanimously well-performed dialogue all the more magnetic, rather than to create a game truly about reading human nature. ![]() The pre-release hype for the game made much of its use of mo-capped facial expressions to ascertain a perp's state of mind and thus potential guilt, and certainly the face animations are pretty much the most lifelike the universe of flashing pixels has ever bestowed upon us. Is it just to flesh out what might otherwise feel a little thin? Was it a case of featureset eyes too big for the crunchtime stomach? Who knows, but the result is a well-stocked but behind-glass-cases museum tour that you ignore most of in favour of rushing to the occasional exhibit with a button to push.Īnd those buttons? Well, they're a sort of point and click adventure: scouring a crime scene for evidence, then picking the right conversation options and items to implicate a suspect. I don't especially want a 40s-set open world game (we've already had Mafia and the Godfather, for better or worse respectively), but I'm bewildered that the late Team Bondi and Rockstar went to see much trouble for so little purpose. ![]() You can roam and roam and roam, and treaty those squinty eyes of yours to all manner of reassuringly vintage sights, but apart from sitting on a chair, ineffectually trying a doorhandle, cheerlessly finding a rare car on engaging in one of the mercifully infrequent and always perfunctory random gunfights, some 95% of it serves no purpose beyond lavish scenery. Which is why the game breaks my heart: there's almost no point to any of that visually luxurious stuff, apart from the two or three locations in each mission that contain anything you can actually do. Early 20th century LA is a beautiful, richly-detailed place - everything from newsstand vendors to smokey divebars recreated with painstaking detail. One is a much more limited take on the traditional Rockstar open urban world/ third person driving/shooting game, but set in the 40s, with angry policemen removed (you are the angry policeman here) and cars that struggle to top 60 miles an hour. Like that's going to stop me from droning on about, of course. Whatever I'm about to tell you, you probably already know. There's a slight element of redundancy to writing this, isn't there? If you have even the slightest interest in Rockstar's detective-'em-up, you'll surely have read some kind of review of it in the long months since its May release on console. Still: I've been playing it over the last few days, so here is An Opinion. Noire: The Complete Edition, so named due to the PC version of Rockstar's vintage crime opus containing all the DLC from the get-go, launched on Steam not minutes ago in the US, though Brits must wait the traditional three extra days. ![]()
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